Hemophiliac   Judges ⚖️

Project Director: @Darkflamewolf (Director of Arcadia Legends, Mizar Attacks!, and SeeDs of Pandora)   Project Concept: After much prodding and poking by a multitude of people/remixers, wanting me to get this Star Fox album project off the ground, I decided it's high time to get the pitch started! Hot off my take on the SeeDs of Pandora album, I figured we could do a similar thing where we had 'themed' discs with tracks that best matched the core essence of what the disc was aiming to be. However, since I'm not sure the overall interest and response to this album, I'm not going for a large multi-5-disc album like the FF8 one. Instead, I'm going to start off with a smaller 2-disc scope and see if we expand from there or get enough tracks to fill the entire ambition.

To sign up, you must join the Community Remix Album Collaborations Discord server. We use it to communicate between all members on the project and makes things insanely easy to coordinate and keep track of the project as a whole. Once there, you can find the Google Form to submit your claim on a track and be part of the project!
Discord Link: https://discord.gg/CtJ2a8kjRy   The two Disc types*: - ACTIVE: You can interpret your chosen track into any genre/type of music you want, but it needs to maintain the frenetic feel of the original track. It's basically giving the Star Fox fan more of what they want. They got a fast-paced, edge-of-your-seat Corneria theme? Well, we'll give them that and THEN SOME. Keep it active! Make it hard, fast, loud, crazy - go wild! These are tracks I want to really turn my speakers up high and just rage/rock out to! Let the walls pound with the beat.
Note: But what if you want to remix a slower song from the OSTs into a crazy, active style? YOU SURE CAN! If it is active and fast, it belongs on this disc, regardless of the original source tune.   - INTERPRETIVE: This disc is for everyone not looking for those crazy times, but wants to explore the melodies and themes beyond their original incarnations. Complete freedom of genre, style and mood. You can stay within the genre/style/mood of the original track or you can go off in wild new directions with it and remix it in a way nobody has ever thought of. Can we have active tracks on this disc? Sure, but those probably won't be the focus, but that's not stopping you from making some beats. This is truly the 'freedom to remix' disc. So, if the first disc was giving Star Fox fans more of what they loved, this is giving something they never knew they needed! Be unexpected! Don't repeat what has been done before - do something fresh and new with these tracks if you can!

* - More discs and their types will be added depending on how big this balloons as a community project.   --- QUESTION: What if a track has already been claimed by another, but it's for the ACTIVE disc and I want to do the same song more INTERPRETATIVE, can we both claim it?
  ANSWER: YES! However, this is the only instance doubles can exist. We can't have two Star Fox 64 Corneria's on the ACTIVE disc, but we can have one Star Fox (SNES) Corneria on the ACTIVE disc and one Star Fox 64 Corneria on the INTERPRETIVE disc. One variant per disc. Likewise, each Corneria theme is different from game to game, so we CAN have Star Fox (SNES) Corneria on the ACTIVE disc and a Star Fox 64 Corneria on the ACTIVE at the same time since, if you listen, they are different themes for the same place - this also applies to any track claims on the INTERPRETIVE disc.

QUESTION: What if a track I want to claim isn't on these track listings?

ANSWER: Then when you fill out the Google submission form on the Discord server, claiming a track, request it to be added to the list and that you're claiming it! ---     TRACK LIST   I am listing all available tracks from all Star Fox games, but that does not mean they all need to be claimed/covered. We'll take whatever we can get, but this album is meant to be a tribute to the series as a whole, thus the entire listing.   Star Fox (SNES)
2 - Course Map Select - @Hemophiliac
3 - Corneria - @bLiNd
4 - Meteor - @Xaleph
5 - Titania - @Rotten Eggplant
7 - Asteroid/Venom-Orbital - @Rockos
12 - Venom Base - @bLiNd
15 - Black Hole - @Xaleph
17 - Controls - @ZackParrish
18 - Menu Theme/Map Theme - @APZX
Star Fox 2 (SNES)

6 - Titania - @GlacialSpoon

Star Fox 64 (Nintendo 64)
1 - Title - Tim Hellman
2 - Select - @Thirdkoopa
7 - Sector X - @Flake42
8 - Zoness - The Vodou Queen
9 - Area 6 - The Vodou Queen / @Thirdkoopa
10 - Venom - The Vodou Queen
15 - Aquas - @Ridley Snipes / @Treyt
17 - Boss A-C (Any theme or multiple medley) - Pixels and Paradiddles

Star Fox Adventures (Gamecube)

4 - Krazoa Palace (all variants) - @Treyt / @Rockos
5 - Krazoa Shrine - @mo.oorgan
8 - Thorntail Hollow (all variants) - @ZackParrish / @Emunator
23 - Dragon Rock - @Emunator
27 - Snowhorn Wastes - @Rockos / @gravitygauntlet
All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you.
 
Star Fox Assault (Gamecube)

17 - Aparoid Homeworld - @Xaleph
23 - Titania - @Xaleph

Star Fox Command (Nintendo DS)

All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you.
 
Star Fox Zero (Wii U)

23 - Fortuna (all variants) - @Xaleph

All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you.
------------------------------
Our Official Track List

Sortie One - Corridor Mode
01 - Theme of the Star Fox - Tim Hellmann (Star Fox) - 3:42
02 - Sweeping Elipse - Rockos (Star Fox) - 4:43
03 - Venom Pulse - bLiNd (Star Fox) - 4:11
04 - Fighting Storms in Titania - Rotten Eggplant (Star Fox) - 4:23
05 - Initiate Code Blue - Treyt (Star Fox 64) - 4:18
06 - Playing Crazy (with the 6th Blockade) - The Vodoú Queen (Star Fox 64) - 4:45
07 - Cries from Crystal Eyes - mo.oorgan (Star Fox Adventures) - 6:54
08 - Arwing Dreams - bLiNd (Star Fox) - 4:55
09 - The Hardest Path - Pixels & Paradiddles (Star Fox 64) - 5:44
10 - Dark Star - Xaleph (Star Fox) - 5:17
11 - Dunes of the Lost - GlacialSpoon (Star Fox 2) - 3:44
12 - Spectre - Treyt (Star Fox Adventures) - 3:44
13 - Meteoric Slipstream - Xaleph (Star Fox) - 6:05
14 - Fortuna Protocol - Xaleph (Star Fox Zero) - 3:25
15 - V.I.R.U.L.E.N.T. - The Vodoú Queen (Star Fox 64) - 5:07
Sortie Two - All-Range Mode
01 - A Hollowed Day - Zack Parrish (Star Fox Adventures) - 5:07
02 - Space Shine - Austin "APZX" Simons (Star Fox) - 3:24
03 - The Perfect Aparoid Dinner - Xaleph (Star Fox Assault) - 3:49
04 - The Death of Fox McCloud - Lucas Guimaraes (Star Fox 64) - 4:40
05 - Wing Men - Hemophiliac (Star Fox) - 3:09
06 - Now Boarding Flight 6 to Venom Lucas Guimaraes (Star Fox 64) - 3:02
07 - Weapon Warp Punk - Flake (Star Fox 64) - 3:46
08 - Free as a Bird - The Vodoú Queen (Star Fox 64) - 5:34
09 - Boundless Skies - Zack Parrish (Star Fox) - 4:30
10 - Bazooka Polace - Rockos (Star Fox Adventures) - 5:45
11 - Ballast - Ridley Snipes (Star Fox 64) - 3:44
12 - Rock and Ice - Rockos/gravitygauntlet (Star Fox Adventures) - 4:59
13 - Sands of Titania - Xaleph (Star Fox) - 4:54
14 - Eyes of Obsidian - Emunator (Star Fox Adventures) - 3:58
15 - Hollow Nights - Emunator (Star Fox Adventures) - 4:57
Reference Links:
Star Fox OST: https://www.youtube.com/watch?v=byIjMomjWkA
Star Fox 2 OST: https://www.youtube.com/watch?v=oODu0MAG9l8
Star Fox 64 OST: https://www.youtube.com/watch?v=8FdW6cTHs4c&t=1s
Star Fox Adventures OST: https://www.youtube.com/watch?v=RSE3q9ktpy8
Star Fox Assault OST: https://www.youtube.com/watch?v=b9naJ4i6fO8
Star Fox Command OST: https://www.youtube.com/watch?v=xiEfudt7Vy4&t=1s
Star Fox Zero OST: https://www.youtube.com/watch?v=55N8LLKYIy8&t=1s

Best sounding mix (in terms of balance and production) from Lucas to date.
I'm here for the awesome organ work.  Blues structure helps keep this one from going off the rails because it's wild and very fun.  Great work!

Something happened in the second half with the snare that's causing it to be chorusing.  I start hearing it at 2:04 and through to the end.  It happens on most, but not all of the snare hits after that point.
Nice job adding variation to the bass and drums in various places!  They definitely help and prevents the track from getting stale quickly.
1:19 and 1:28 still have some kind of distortion going on.  Like I said before, it might be clipping or it could be some other distortion effect getting too hot for a moment.
At this point, those minor issues could be addressed and then it's up to you to decide how much you want to add things to take this to the next-level.  When I say that, I'm talking about ear candy.  Melodic embellishments, additional background elements that change (like synth modulation), or anything else you can think of that will add interest to the track.  Those things are not necessary, but recommended if you want to take it to the next-level.

Excellent feedback, thanks dude. The section where the bass takes the lead is actually one of the brass lines repurposed. I deliberately wanted to keep this stripped back as I have a tendency to succumb to feature creep and end up with way too much in the soundscape cluttering everything up. I'll take your feedback and see what I can implement. Thanks again!

6.5 years since the last track...too long, give us more!

The detailed synth work and interplay of variation on rhythm is superb. Very enjoyable, and it's gonna be tough to get this earworm out of my head.  The chip arps are a particular stand-out for me as they seem to come out of nowhere, but feel like they belong.  This track would not be the same without them.  Awesome work!

He's talking about the chords build upon those scale degrees in the parallel minor key, not the scale.  Don't think about the key of F major.  He's only talking about the keys of G major and G minor.  So each time he shows a chord symbol at the top of the staff he's indicating what chord it is not the key.
So a chord built upon the third scale degree of G minor is Bb major.  If you build a chord on the seventh scale degree of G minor you get F major.  He's making an assumption about "generic" sound based on his own experiences.
When notes and chords are "borrowed" from relative major and minor keys, it's usually done to change color or add interest.  The composer chose to do these things to achieve a sound more interesting than using just G major.
I hope that helps in your understanding.

This is a very good explanation, and I appreciate you answering in a way that isn't confusing for me. The part that confused me about this video is that he uses the G major chord. At least I assume this because it says G and not Gm. So that's partially the reason I got confused as to why he said it was borrowed from the parallel minor key while showing in text "Both borrowed from G minor". But after reading your post, I think I now understand where the B♭(sus2) is coming from. I'm going to go ahead and keep the information you shared so I have a better understanding in case I somehow forget in the future. Thanks again!

He's talking about the chords build upon those scale degrees in the parallel minor key, not the scale.  Don't think about the key of F major.  He's only talking about the keys of G major and G minor.  So each time he shows a chord symbol at the top of the staff he's indicating what chord it is not the key.
So a chord built upon the third scale degree of G minor is Bb major.  If you build a chord on the seventh scale degree of G minor you get F major.  He's making an assumption about "generic" sound based on his own experiences.
When notes and chords are "borrowed" from relative major and minor keys, it's usually done to change color or add interest.  The composer chose to do these things to achieve a sound more interesting than using just G major.
I hope that helps in your understanding.

Evaluation:
There's a lot to like here, even though it's "conservative" you've added quite a lot of subtlety to the track.  The original is basically solo acoustic guitar after all!  Love the style, and you know I'm a sucker for the choir.
All of the added strings carry some very emotive work.  Their new countermelodies you have added is the highlight for me. IE (1:06-1:26) is heart-wrenchingly beautiful.
After the opening ends, we are introduced to a new element; choir!  This is where the majority of the problems lie for me.  The attack on the samples is lagging just so slightly behind the beat and it's very noticeable especially when laid next to the piano as it is.  I'd suggest to try a couple things:  try getting more of an accent whenever there's a reticulation of a note or move up what's there currently to line up with the piano better.  The other aspect of the choir is that it sounds like it's in a different space than the other parts.  The choir is pushed back in the space and the piano and strings are much closer to the front.
Definitely address the humanization as you mentioned as well, can't forget that.
If you want to take it to the next level, my idea would be to bring back the cello towards the end playing some more lyrical and interesting countermelody to add to the choir.

Thank you for the feedback! I'm glad you liked the adaptation. The length of the track was limited due to the contest's requirements, and the main focus was to keep the main melody almost identical to the original game's tune. However, I've been considering creating a longer version with more variations.
Regarding the mixing and mastering, it's true that it can be challenging. I tried using an online mastering tool this time, and in Cubase, I only adjusted the volume levels of individual instruments. I'll definitely try your suggestions and work on improving the mix and master. Thanks for the advice!
This style of music is quite new for me, and I don't listen to it much either. That's why I'm especially happy that both the audience and you enjoyed it! If I find some time this summer, I'll make some modifications and try to create a more refined version. Thanks again for your support and constructive feedback!

Nice changes!  The ending is great.  Although, you should definitely humanize the piano in that new ending now, it's rather stiff and velocities feel very similiar.  Exaggerate the velocites some to give a more human feeling.
Something that didn't occur to me before in the loud piano section 1:04-1:20 was the dryness of the piano.  I think I was more concerned with the overall volume.  Definitely could use a touch of reverb here, similar to how you have it in other parts of the track.
Very nice work.  I think you should fix up those minor issues and submit this.

Here is the new version. I think the ending is more telegraphed now, and the drum fills are less stiff.

First of all, welcome to the forums!
Thank you for sharing the story, I hope you'll be able to create more and more with time.
It's lovely to hear a first attempt from someone new that's already pretty strong as is.  I like this arrangement, it has the changes I look for in a remix.
0:16-0:21 and 0:24-0:29 Has a background synth off-beat and it feels like it lands on unusual beats as well.  The synth works, but where it lands feels odd to me.  It comes back later at 1:54-2:02
1:04-1:20 piano is SUPER loud, definitely look at reducing that some.
Look at your drum fills such as 0:47 in the snare and add some more exaggerated velocity differences into those rolls so they don't approach "machine-gun" type fills.  I find this is especially important when using acoustic-style drum samples.
1:46-2:02 Nice original additions.  I dig the change to half-time right before it.
Ending feels sudden and comes out of nowhere.  How you ended is fine, it's just sudden.  If you wanted to elongate that some it could help it's suddenness. I suggest to do a slow in tempo (ritardando) into the last few chords and hold out the last chord longer.
Overall, very solid arrangement; there are just a few minor production elements that should be looked at.  Awesome job!

I've been producing music for quite a couple of years, but until recently, I never really cared to share it. After my father passed away last year, I could not make music anymore, until last week, when something unlocked. I dedicate this track to him.
Production standards are high on OCRemix, and I don't know if this is considered good or not, I tried to make this spin on a classic song a fun listen. But I am looking for any sort of actionable feedback so I can improve as a musician and producer.
Thank you.

Hey folks, it's been years (decades?)!
I'd stopped doing music for a while but got back into it recently and made an instrumental rock guitar album with strong retro video game influences.
Allow me the shamelessly plug it @:
Spotify: https://open.spotify.com/album/1J4ORYXownWtYqcNjVevdm

Apple Music: https://music.apple.com/album/un-autre-adieu/1681984400

YouTube: https://music.youtube.com/search?q=Pascal+Jette+Un+Autre+Adieu
Or delete this if this is against guidelines ¯\_(ツ)_/¯

As always, Hemophiliac, your feedback is much appreciated.  You are a generous scholar.
Noted about the compression, I feel like mixing and mastering are what separates the novices from the advanced and I am still very much in the former category with lots to learn.  The drums are actually sample and were the closest to what I had in my mind's ear after trialing so many different loops.  Problem is the sample comes with that strange compression fade out on a few of the kicks and snares so I'm kind of up a creek there.  I have no doubt I'm making it worse, but I think I may have to revisit what I want out of the drums in general.
You are also correct that the Chrono Trigger song is the back seat to Shinra here, which was sort of a natural evolution as I laid things out.  You are not wrong.
Time to get back to work, and thanks again!

An absolute aeon since the last time I've posted here, but this one has been bothering me for months and I couldn't rest until I did it justice - as soon as Flowers started being ever-present as soon as it came out, it started bugging me that I knew it sounded exactly like an NES song. Then I started remembering lyrics that went with it, I was like, oh yeah, Trenthian did a vocal cover, that's right, it was pretty epic, too. Then, after scouring the internet for any other similar instrumental version, but obviously coming up empty because Trenthian's style is definitely his own (and, again, epic), I realized: a couple years ago I'd seen someone post a link to an interesting site claiming to be able to separate vocals and non-vocals completely, using AI. So I tried it, and dang if it didn't work. So thanks, Trenthian - I think this is the coolest mashup I've ever done. 
Flowers in my Armor (Wizards in my Mashup)
Miley Cyrus - Flowers (vocals)
v
Trenthian & Brothersynthe - OC ReMix #1665: Wizards & Warriors 'Wizards in My Armor (Warrior in My Long Johns)' [Wizards & Warriors Title] (instrumental, and vocals sometimes)
edit: I'm sad how few people will probably ever see this, cause I'm just doing it for my own amusement... but I made another version, that includes Gloria Steinem's I Will Survive in a significant capacity as well as the above.
Flower in my Armor (Wizards in my Mashup) (I Will Survive version)
I can't stress enough how well this works. I've never done a mashup with real counterpoint for the majority of the song, let alone where both vocal tracks also have their own independent harmonies, but these songs fit perfectly (I mean, I cut up the vocals and slotted them to fit, but the chord progressions.) On top of that, by complete accident, it's a breakup song about not needing the guy, vs a song that, through no fault of its own, is a guy singing about a woman as a literal object to be retrieved for a reward (again, nothing against it, it's a straight-up homage to an old platformer where "save the princess" was just what you did in those games, I'm just saying, the lyrics work together.) So I figured I had to share it with anyone else who might still be around, haha.
I should really post these on youtube where people could actually find them... 

Nice one!

This is really, really impressive. I hope Nobuo gets a chance to listen through it. I think he'd be really impressed what you've all accomplished here.

Gear does help some, but the skills and experience are more important.  It takes time to experiment and improve.  These skills don't happen overnight.

Another key skill is using your ears critically.  Knowing what works and what doesn't takes time to develop.
Try things...if they don't work, oh well; move on and try something else.
With all that being said, don't neglect the arrangement side of things either.  Both are equally important when it comes to putting together a track.
We all have potential, and again; it just takes time to get there.

Evaluation:
Yeah, this is muddy and imbalanced.
The bass is much too big and takes up most of the space, covering up the other parts too much.  Balance amongst the parts should be worked on to bring more parity between them, let them work together and not fight with each other.
After the introduction, the source melody should be brought out more too so that the listener does have a better grasp on what they are hearing.
I'm not sure how I feel about the high synth that's noodling about on top of everything.  It's definitely occupying the right space for it, the part just feels random and not adding much to propel the track forward.  As a listener you definitely notice it going away at 2:42.  Helped with fatigue.
Structurally, there could be a break in the middle with a contrasting feel to help separate the track and give it more momentum to keep it moving forward.  Book-ending the beginning and endings can work, and this could work better if the ending doesn't happen so suddenly.  That's also aside the fade-out, it doesn't work very well.  I suggest ending at 3:22 instead, that spot actually feels like it could be a more natural ending.
What I like is the mellow feeling the interpretation has compared to the original.  Slowing the tempo really helped to bring out more ideas and gives space for you to explore your own take.

Amazing job everyone.
Quick POSITIVE feedback.
Categories - initially (when I first read the project announcement years ago), I wasn't sure how much I liked the Calm | Crazy | Goofy categories but I thought it was unique and interesting but it felt like a gimmick. I now stand corrected, it adds so much to the album and I really really love these categories.  Seeing how each genre fits perfectly in the category interpretation... it's BRILLIANT and I really hope to see this concept used again in future albums.
 
Listening Party - I know it's kind of a new thing we were playing with but it's definitely the way to go.  Not sure how to best market it but it definitely built up the hype.  Great decision here.
 
Collaborations - the amount of collaborations (as was mentioned by @Liontamer and others last night) is truly amazing.  It further improves the community and honestly makes the quality of the songs fantastic.
 
In no way am I criticizing previous albums (which I'm an artist in many) when I say that this album is easily a 10/10
This is particularly impressive given the number of songs on the album.
 
Again, great job everyone!

Oh yeah, nice and smooth. Gotta love how many different feelings you can conjure from how a jazz piece is arranged, and this one is certainly a chill and relaxing one for lounging, maybe with a nice drink. 

I like the jazz feel of it, very relaxing
 

I've been coming to this site for 20 years.  Never posted a review before.  I was absolutely hooked in the first 60 seconds of this, and had to come back to read what was on the page about the remix.  I don't know anything about the original song, I don't care anything about the original song.  This absolutely stands on its own.  Yes, it's different from almost everything on here, but I agree - that's fine.  I.  LOVE.  IT.